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Dear Story Nurse,
How do I figure out which supporting characters need to be in my story? I’ve read oodles of articles about the importance of secondary characters, how they drive the plot and reveal important things about the protagonist, but none about how to figure out who those characters are in the first place.
My protagonist starts out very much alone—recently discharged from the military and estranged from her family of origin. Over the course of the story, she builds a support network for herself. Some of that will be people who are new to her life; others are people who were already there, but she didn’t realize she could rely on them.
There are quite a lot of ideas that I want to explore in the story, though I’m not sure how many will make it to the final draft. Here’s a short list:
- the control that money exerts over our lives
- family, community, and accepting support
- coming to terms with your own weaknesses and those of others
- trauma and recovery
- openness and acceptance as the antidote to shame
- the importance of telling your own story
I have a solid sense of who the protagonist is as a solitary person, but I don’t know who the people around her are. Who are her friends? Her coworkers? It’s such a broad question that I’m not sure where to start.
—Who’s Next? (he/him)
Dear Who’s Next?,
This is a great question! And you’ve already got the beginning of your answer to it. Just as protagonists in some ways embody the Big Idea of your story, supporting characters are often avatars of those themes you mentioned, as well as vehicles for tone. When you’re looking at the push-pull of plot momentum, supporting characters can provide both the push and the pull. And a well-rounded cast will do a lot to fill out your setting.
Dear Story Nurse,
I work in a different creative industry, but books and stories are what that pushed me to pursue it. I want to put something out into the world that resonates with other people the way my influences resonated and shaped me. Something that’s good enough for someone else to care about it. Fantasy worldbuilding and character-making are such joyful exercises of the imagination, and I want to do something exciting with all these fun toys I come up with! But wow, turns out I hate making stories maybe?
Or rather, plots and narratives are agony for me. I thought that since I’m delighted by intrigue and puzzleboxes it’d be enjoyable to construct those things myself. Turns out I’m full of it. I hate scrounging around for premises, I don’t care about the whats and hows and whys of events, and everything is just a thin excuse to make my characters have a Point. All I want are for my characters to Feel The Deep Feelings and for things to have been Very Important because of Reasons. I want to be good at this and to do practice stories and sharpen my skills, but the exercise of the craft never seems to give back even a drop of fun. Trying to force the vague shifting silhouettes of a “story” into a concrete narrative shape is a joyless chore. Why pour my very limited time and energy into something that I seem to hate actually doing?
Yet I’m still never able to make peace with the idea of truly giving up and letting go. I keep burning with the desire to actually Make Something. I believe if this desire exists inside of me so strongly then it must be tied to something real. But it feels like I don’t have any stories in me, just the places where they could happen and the people they might happen to, someday.
Can you bash yourself over the head with something you hate enough times until it becomes fun? Is that possible? Is this all really very normal?
—Not a Storyteller? (she/her)
Dear Not a Storyteller?,
I’m sorry that plotting is giving you such a hard time. It sounds like you’re very clear on which parts of writing fiction are fun and satisfying for you, and which ones aren’t. That’s important! And you’re not alone in loving some parts of writing and disliking others. For some people the struggle is with voice; for some it’s character creation; and for some, like you, it’s plotting.
Dear Story Nurse,
I’m running into a problem with starting my second novel. I completed my first novel a few months ago after about a year of work and have been brainstorming and writing scenes for future projects since then. However, I haven’t been able to commit to working on the second novel.
I have plenty of notes and a good idea of the story I want to tell. I’ve got characters, setting, a beginning, some plot—but I’m feeling very stuck. I feel like my first novel just… happened, even though I obviously remember struggling with it at times and putting in the work. A part of me feels like maybe that was it, the one story I have to tell, just a fluke that I can’t repeat. Do you have any strategies to help me get unstuck and get to work?
I realize this problem is a bit abstract. Thanks in advance for any advice you can give!
First, let me reassure you that this is really, really common and you are not alone. Second novels are sort of like second children: you think that this time around you’ll go into the project knowing everything, and then the project turns out to be so different from the first project that you’re back at square one in a lot of ways. But don’t worry! There are definitely ways to unstick yourself.